Tuesday, September 11, 2012

FOAM Work by Michael Graf : Installation Images

Detail-
Come down fr-
2010 – 2012
Oil paint on canvas board
12 panels, 35.5 x 45.7 

Come down fr-
2010 – 2012
Oil paint on canvas board
12 panels, 35.5 x 45.7 


GeneièeÈtempodirientrare.Pelléas,mostralastradaaMélisande.Deoandare,aederepiccoloniold(esce)PelléasNonsiedepiùnullasulmare..
Mélisandeedoaltreluci.PelléasSonglialtriariSentiteilmare?Èilentoches’ala…Scendiamoperdiva.oltetedarmilamano?Mélisandeedete,edete,olemanipienediioriPelléasisosterròcolbraccio,ilcamminoèscoscesco,edèmoltobuio.orsepartodomani…
MélisandeOh!…Perchépartite?(escono)AttoIIScenaIUnaontonanelparco.EntranoPelléaseMélisandeNonsapetedove‘oportata?engospessoasedermiuaersomeodì,uardoètroppocaldoneigiardini.Sisoffocanceall’ombradeglialberi.MélisandeOh!L’acuaèciara…PelléasÈunaecchiaontanaabbondonata.Pareosseunaontanamiracolosa,apriaglioccideicieci,laciamanoancora<>.

2011 – 2012
Oil paint on canvas board
15 panels, either 35.5 x 45.7 or 45.7 x 35.5


Untitled
2010 – 2012
Oil paint on canvas board
15 panels, either 35.5 x 45.7 or 45.7 x 35.5

Detail-
Untitled
2010 – 2012
Oil paint on canvas board
15 panels, either 35.5 x 45.7 or 45.7 x 35.5

Detail-
GeneièeÈtempodirientrare.Pelléas,mostralastradaaMélisande.Deoandare,aederepiccoloniold(esce)PelléasNonsiedepiùnullasulmare..
Mélisandeedoaltreluci.PelléasSonglialtriariSentiteilmare?Èilentoches’ala…Scendiamoperdiva.oltetedarmilamano?Mélisandeedete,edete,olemanipienediioriPelléasisosterròcolbraccio,ilcamminoèscoscesco,edèmoltobuio.orsepartodomani…
MélisandeOh!…Perchépartite?(escono)AttoIIScenaIUnaontonanelparco.EntranoPelléaseMélisandeNonsapetedove‘oportata?engospessoasedermiuaersomeodì,uardoètroppocaldoneigiardini.Sisoffocanceall’ombradeglialberi.MélisandeOh!L’acuaèciara…PelléasÈunaecchiaontanaabbondonata.Pareosseunaontanamiracolosa,apriaglioccideicieci,laciamanoancora<>.
2011 – 2012

Oil paint on canvas board
15 panels, either 35.5 x 45.7 or 45.7 x 35.5


Greenwood Street Projects: String, SexAppeal & Sandback

Greenwood Street Projects: String, SexAppeal & Sandback

Friday, August 3, 2012

FOX/JENSEN & Greenwood Street Project

installation images

FEDERLE INNES SANDBACK UMBERG 
ROETH KNOEBEL NIKOLIC THORNLEY

installation view: Geoff Thornley  Voice of Mimesis #10, 2000 - 2001
oil on canvas, 105 x 90 cm



















installation view
installation view: Helmut Federle  Basics on Composition XII (12), 1991
oil on Linen, 40 x 50 cm

--

Callum Innes  
Untitled No 18, 2011  
oil on canvas, 112 x 110 cm















installation view: Fred Sandback  Unititled (Sculptural Study, Two-Part Cornered Constructionz)  Fred Sandback Estate Number 2566
Blue acrylic yarn  110 x 140 cm
--
Günter Umberg  Untitled, 2010  
Pigment and dammar on MDF  53 x 46.5 cm
installation view:  Imi Knoebel  Anima Mundi 45 – 3, 2010
Acrylic on hand-coloured paper  Edition 4 of 5  46 x 36 cm each
--
Winston Roeth  Two Moons, 2010  
Tempera on Di-Bond aluminium panels  137.2 x 137.2 cm each

















installation view: Imi Knoebel  Anima Mundi 45 – 3, 2010
Acrylic on hand-coloured paper  Edition 4 of 5  46 x 36 cm each
--
Winston Roeth  Two Moons, 2010
Tempera on Di-Bond aluminium panels  137.2 x 137.2 cm each

















installation view: Tomislav Nikolic
1 – 3: Always stretching time But it’s never long enough; 4 – 7: Turning minutes into hours, 2012
acrylic, marble dust, citron gold leaf, platin gold leaf,on canvas and wood, glass, museum glass 2 parts: 66.5 x 85.5 x 8 cm & 96.5 x 78.5 x 11 cm

Monday, July 30, 2012

Fox/Jensen & Greenwood Street Project

Greenwood Street Project is a creative initiative under the supervision of Donald Holt & Tomislav Nikolic, located in Abbotsford, Victoria.

Its aim is to foster a spirit of experimentation and display practice not bound to institutional pressures or categorical disciplines. This freedom is the ground to encourage dialogue and informs the artists, practitioners and designers who exhibit here and in turn feeds the creative energy of the studio it is nurtured in.

During the time of the Melbourne Art Fair, FOX/JENSEN is presenting the works by eight artists from Australasia, Europe and America. The artists are Callum Innes, Fred Sandback, Winston Roeth, Gunter Umberg, Imi Knoebel, Tomislav Nikolic, Helmut Federle and Geoff Thornley.

These artists share sensibilities that establish the grounds for a rich conversation, not only about abstraction but about perception itself. Considered approaches to colour, process and the architecture of form are common to all.

Gunter Umberg has recently concluded his first Sydney exhibition at JENSEN GALLERY and celebrated a magnificent solo project at Art Unlimited/Art Basel 2012.

Installation: Günter Umberg, Territorium 17, 2012 (2012) ART BASEL 43

Imi Knoebel has a major installation “24 Colors – for Blinky” (1977) dominating the central exhibition hall at DIA Beacon, New York and he has recently completed a major commission for the French Ministry of Culture and Communication to create stained glass windows for Notre Dame De Reims Cathedral in France marking its 800th Anniversary.
Installation:  "24 Colors - for Blinky" (1977) Image courtesy Dia Art Foundation, New York

Imi Knoebel, Stained Glass at Reims Cathedral, France

Fred Sandback’s work was presented for the first time in Sydney since the 1976 Sydney Biennale with a large solo project at JENSEN GALLERY/SYDNEY. 
A large work is currently installed in the Art Gallery of New South Wales and Sandback has also concluded a major project at the Serpentine Gallery in London.There is a permanent collection of his works at DIA: Beacon, NY

Installation: Fred Sandback and Gunter Umberg, E=MC2, Jensen Gallery/Sydney

Winston Roeth is one of America’s finest colourists. Using pigment and tempera Roeth gives colour and volume and physicality. One feels the colour, its tone and pitch as much as it is a retinal experience. His use of iridescent, often golden borders against which the central colour is held, direct the eye along the horizontal and vertical axis before falling again into the “drift” of the centre void.

He has a permanent installation in the Benesse Art Site - Noashima, Japan and in the Palazzo Ducale in Sassuolo Italy. 

Installation: Winston Roeth, Palazzo Ducale di Sassuolo
Callum Innes is well known to Australian audiences not only though recent projects with JENSENGALLERY/SYDNEY but through regular presentations at Melbourne Art Fair and the retrospective From Memory at the Museum of Contemporary Art in Sydney in 2007.
Innes's work is sought after by private collectors and museums throughout the world. JENSENGALLERY/SYDNEY is in the early stages of developing a major document that deals with the projects Innes has made with the gallery over the last 12 years.

 Installation: From Memory, The Fruitmarket Gallery, Edinburgh, UK (and then touring to Modern Art Oxford, UK; Kettles Yard, Cambridge, UK; MCA, Sydney, Australia)
Tomislav Nikolic and Geoff Thornley have joined JENSENGALLERY/SYDNEY & FOX/JENSEN within the last twelve months. Both are painters possessing great facility and sensitivity. These capacities combined with a conceptual rigour and intelligence make their contextualisation in this special project seamless.

Installation: Tomislav Nikolic, 7, Fox/Jensen Auckland, 2012


 Installation: Geoff Thornley, Voice of Mimesis, Fox/Jensen Auckland, 2011
The project will run from August 1-5 from Noon til 6pm daily at 9 Greenwood Street Abbotsford, Melbourne, VIC 3067


Monday, June 4, 2012

Installation images - Of Virgins

Installation view [above and below]



Michael Graf,Two drawings by Parmigianino of the Wise and Foolish Virgins for the church of the Steccata, Parma
From vas spirituel / a melisima by Marc-Antoine Charpentier (1989 – 1992)
Oil on Canvas Panel 119 x30.5cm

Kiki Smith " Virgin Mary" [left] " Virgin with Dove" both 1999
Etching, aquatint and Drypoint 22.3 x 27.5 cm each
Private Collection

Catalogue images from " Kiki Smith: A Gathering, 1980-2005"


Helen Johnson  "23 Specific References" 2012
Acrylic on linen, Silk, Copper nail, Leather
27x43cm

 Brent Harris  " Sad Madonna" 2007-2012
Coloured pencil on Paper
19.8 x 27.5cm

Rosslynd Piggott, "Closed Lily"[left]& "Open Lily" 1989
Oil on Canvas
30 x 38cm each

Justin Clemens, Presentation of sonnets.
"Three Virgins of the Annunciation"
2012


Three Virgins of the Annunciation
Justin Clemens

I

As narrative establishment, it’s weird:
You’ve been engaged to marry this old guy
Who seems OK, but, like, you know, his beard
Is pretty mangy, and he’s kinda sly;
Well, anyways, one day you’re sitting there
Alone, perhaps a plaything on the floor
Or some dull book, when this dude with cool hair
Blows out the window with a trumpet’s roar.
‘G’day,’ he says, two fingers raised, a flower,
Maybe a lily, in the other hand,
‘You’re gonna be a mother!’ A golden shower
Of spirit ripples through the room like sand
Through spiral shells, then bursts to sense as son
Et lumière — as if already done.

II

You’re sulking in your cell, when suddenly
This guy bursts in, his spiral perm on fire,
A giant lily in his hand, and he
Looks like he’s got a circlet made of wire
Stuck somehow to his head. WTF?! You think,
Who is this bozo? OMG he’s got
A strap-on of real feather wings, a pink
Cloak draped about his natty pastels, hot
Designer lamé sandals, and a smirk
Like he knows something juicy that you don’t.
You bristle at the stranger, tell the jerk
He has to leave: he says he can’t and won’t,
But that he’s got a bombshell text in store
That’ll flip out your fallopians, for sure.

III

When Zeus would change his form into a bull
Or swan or gold to fuck his paramours,
No dictate was the medium of his will — 
He’d do the job himself, with dirty paws.
But when the lonely Jewish God decides
He wants Himself to be His only Son,
He sends a proxy, who in turn confides
The happy news to His anointed One.
Inseminated through the ear, without 
Concomitant enjoyment of the act,
Our inadvertent heroine’s redoubt
Transmutes impossibility to fact
In that it’s Word alone that makes the cut —
Like spirit was a bone, and nothing but.





Installation View June 2012

Sunday, June 3, 2012

Of Virgins- Greenwood Street Project



We are happy to announce the new exhibition "Of Virgins" at Greenwood Street Project supervised by Brent Harris

This exhibition explores of the notion of “the virgin” through painting, printmaking, drawing, installation and poetry; the various mediums and artists who employ them respond to ideas of immaculate virgins but also the virgin as the symbol of the impossible, the possible and the potent.

The artists included are Michael Graf, Rosslynd Piggott and Kiki Smith with new works by Brent Harris and Helen Johnson.  A suite of sonnets have been composed for this exhibition by Justin Clemens.

Foreword by Justin Clemens - Virgin
The etymology of the word ‘virgin’ is extremely interesting. One reputable etymological dictionary provides the following information: ‘virgo, ĭnis, f. root varg-; Sanscr. ūrg, strength, ūrga-jami, nourish; Gr. ὀργάω, to swell, ὀργή, impulse.’ One can immediately see the original senses of natural power and nourishment, the burgeoning of capacities for fruitfulness in the term. Samuel Johnson’s famous Dictionary of the English Language gives the noun four meanings: 1) A maid; a woman unacquainted with men; 2) A woman not a mother; 3) Any thing untouched or unmingled; any thing pure; 4) The sign of the zodiac in which the sun is in August. Examples of uses of the word are given, notably from Shakespeare: ‘Angelo is an adult’rous thief,/An hypocrite, a virgin violator.’ Western art would be impossible without virgins, without the Virgin. Indeed, the Virgin is the very emblem of the impossible: maternity without male matter. Sometimes the Virgin is the Christian transubstantiation of the pagan Muses, to be invoked as inspiration and protection; sometimes she is the privileged ur-subject of all representations; sometimes she is the alibi for experimental transgressions. Virgin: the impossible paradigm of human creative power.

Greenwood Street Project is a creative initiative under the supervision of Donald Holt & Tomislav Nikolic, located in Abbotsford, Victoria.


The exhibition is on view 2-6 Thursdays and Friday and by appointment during June with the final day of the exhibition July 6, 2012 

Monday, April 30, 2012

Installation images Ritson + McCook

Installation images[top and below]



Joanne Ritson. Tulip & Crocus[both2003]Pigment& micro cystalline wax on plywood.


Detail Brandt McCook,  Wonder walking, astral bright, 2011-2012

Joanne Ritson, Thallium Sky, 2006, Oil on Linen

Thursday, April 26, 2012




BRANDT McCOOK + JOANNE RITSON
Works grouped by Michael Graf

MAY 2012
GREENWOOD STREET PROJECT
2-6 Thursday & Friday, and by appointment (last day Friday 1 June)
Greenwood Street Project is a creative initiative under the supervision of Donald Holt & Tomislav Nikolic, located in Abbotsford, Victoria.
Greenwood Street Project
9 Greenwood Street
Abbotsford 3067
T: 613 9415 8893



Brandt McCook + Joanne Ritson
Greenwood Street Project, May 2012

I’ve known Brandt McCook and Joanne Ritson for many years. They, however, have never met or seen each other’s work until this exhibition at Greenwood Street Project. Although their work doesn’t resemble each other’s in appearance, I sense parallel modes of seeing and making. In particular, both are drawn to patterned structures and the decorative arts. Before embarking on her current painted works, Ritson’s preferred format was coloured wax, which formed intricate inlaid reliefs. Although recalling pietra dure and marquetry, these works incorporate drips and splashes that highlight their molten origin. McCook, likewise, constructs small panels made from tiny sections of plastic shopping bags. This technique resembles a master making a stained glass window, however abject McCook’s choice of media. Because of the vulnerable nature of the materials they employ, doubts are raised about the long-term preservation of Ritson and McCook’s work. It assumes a compelling pathos that runs counter to the artisan techniques the two artists reference - stained glass and inlaid stone or wood. Perhaps forewarned, both Ritson and McCook have shifted from wax and plastic to paper and canvas. Sensibilities that informed their earlier working methods are transferred to these new media. Ritson’s paintings mimic the look of molten wax whilst exploring subtle spatialities that were limited with her previous technique. McCook’s charcoal drawings of aerial views of wooded landscapes draw on the map-like quality of his sectioned plastic panels, now enlivened with an abundance of naturalistic detail. And here arises an unexpected point of contact between these two artists. Both have turned to landscape as a subject, but from strikingly different paths. Ritson’s “chemical” terrains are adapted from images of microbiology, whilst McCook’s woods (as indeed is the patterning of his plastic panels) are formed from the shapes of words and phrases. Rather than depictions of actuality, I would designate these works as a form of self-portraiture, so closely are they aligned to aspects of their makers identities. 

I anticipate further insights to arise from this “forced encounter” over the next four weeks.


Michael Graf
Melbourne, April 2012